Raw & Post Processing, Printing > Printing: Printers, Papers and Inks

Is a dry mount laminating press desirable?

(1/3) > >>

Rocco Penny:
Hi there,
Spent part of the weekend mounting and framing pieces.
Got three done.
Wrestled them into submission, and t-hinged them.
Don't much think this is the best way.
Thinking a press may be beneficial.
Wondering if any of you folks with some experience with one might steer me right.
What does it mean when the specs for the platen size says it can handle up to 36 inches in sections, but the platen is 18 inches at its widest?
Do you flip the piece end for end?
OK, and do I need a big platen size if I regularly make 24x18 inch prints?
I'd like to keep my options open for really big pieces.
Thank you
Rocco Penny

bill t.:
I have mounted many 24 x 60 sized prints on a press with a 26" x 34" platen.

The trick is to do it in sections.  You tack the print down at one edge only, just two tacks.  Should be one of the short dimension edges.  If you're a good graphic artist you will trim away the protruding drymount tissue.  Then you put the tacked section under the press for whatever time you think is right, typically 90 seconds to 2 minutes.  You MUST start with the tacked section, and again remember only 2 tacks on one edge.  Then you move the still warm package to the next section with maybe 25% overlap, and press that.  Don't worry about double heating the overlap section, it can take it if your press isn't over about 190F.

But I left out some stuff...

Without any tissue you must pre-press both print and backing to get rid of moisture.  Moisture undermines the drymount bod.  About 30 seconds for the print, 1 minute for the backing, you can give them both 1 minute together if you want.  This is especially important if you are mounting RC papers which are so stiff the slightest ripple in the print will cause a crease of bubble when you mount it.

There must be a cover sheet like a 1/16" piece of matte board covering the print + backing and protruding out past the edge of the plate.  If you don't have this, the edge of the plate will make an impression on the print.

You must exercise fanatical cleanliness to avoid getting a tiny piece of grit either under or on the print.  Obsessively wipe down the back, the tissue and both sides of the print.  Before putting the package in the press, search the surface of the print with at an acute angle reflection of a bright light.  A clean work table is a must, you can use a bed sheet  reserved just for this purpose.

RC paper is a special pain when it comes to drymounting, especially in sections.  The book says you're supposed to use Colormount tissue, but I have found Colormount does not give a reliable bond with a thick cover sheet, it has something to do with the slow temperature rise through the cover sheet.  With a cover sheet you should only use Promount tissue which gives a very strong bond.  Promount is carried by United Mfrs etc.  And it bears repeating that pre-pressing is necessity, most especially with RC.

The mechanical pressure is important too.  If your press has adjustable pressure it should be set just below the point where if you press a 8x10 RC print on a larger piece of 3/16 foamcore, there will just barely be an impression of the print outline on the foamcore.  Some presses like the Seals have double pressure adjustment posts, be sure you are pressing equally hard on both sides of the platen.  If you are pressing too hard, when you look at your sectionally mounted big prints from the side you will see bands of different reflective characteristics where your overlaps were.

The foam pad can get too hard for good dry mounting.  You should easily be able to pinch it to half its width between thumb and finger.

Do tests on junk prints.  Try to peel them up (easy to do on Colormount'd prints when you use a thick cover sheet).  Slice them apart to see if there are sections that are not fully mounted.

Some old presses have awful heat regulation.  Can't use those for RC at all.  A good press will stay with +-5 degrees of setting.  RC will delaminate above about 210 or 220F, but can press quite a while at 190F with no problem.  You can get little temperature indicating sheets from sources like United Mfrs, I use a $10 digital temperature meter I got at Harbor Freight, shame on me.  A simple test is to leave a piece of RC in the press for 10 or 20 minutes, if it survives you're OK.  If you get bonds you can easily peel up, your temp is too low.

A couple years bought a good teflon tacking iron labeled "Hangar 9" on ebay for about $10.  I think it was intended from stretching coverings on model airplanes.  But if you don't have a tacking iron and your artwork isn't too big you can just use one of the corners of the press for tacking.

A nice pro touch is buy a short roll of "Silicone Release Paper" which when placed above the print will prevent any protruding tissue from sticking to the cover sheet.  But I never use, I'm a good trimmer with #11 Xacto.

Rocco Penny:
holy smokes! Thank you bill t.
You know, I've spent a great deal of my life not knowing which questions to ask.
Many times there was just no one to ask.  Sometimes when I'd get an answer, even in my most neophyte moments, I could tell maybe the accurateness of the answer was in question.
That is if I could get an answer at all.
I can also tell an expert when I see one
You bill t. are beyond generous, and I hope to someday be able to contribute like you do.

 Thank you,

and is a 20x20 platen as good as a 24x34 platen for mounting pieces typically 24 inches on the longest dimension?
Or for that matter would an 18x15 press work as well for the bigger pieces after I learn to use it?

Thanks again
Rocco Penny

framah:
You might also want to look into  a heat table which is a machine where the whole piece goes in at one time so there is none of that mounting in bites and possibly screwing it up. Predrying is also made easier as it is done all at one time. The other up side is that when you take it out of the press, you can weight the whole piece till it cools and get a better job.

 There are varying sizes but look for as large as you think you will ever need.  I use a 40x60 in my store and they do make one that is 48x96. They make a 36x48 also.  There are used ones out there.

gcs:
I do understand that drymount is not recommended for Epson Exhibition Fiber nor Ilford Gold Fibre Silk, what other options do I have with a large prints 110x110 cm (40x40 inch), so they are totally flat when you frame them?

Gonzalo

Navigation

[0] Message Index

[#] Next page